This dissertation argues how motivic saturation on the musical surface complicates a conventional harmonic interpretation in Fauré's late chamber works. Using motivic segmentation and linear analysis, I illustrate how the abundance of foreground motives has far-reaching implications for tonal voice leading and overall coherence. The outcomes of motivic saliency are twofold, influencing harmonic progressions by 1) altering traditional syntax or 2) replacing traditional syntax to provide the primary form of tonal coherence. I unpack the voice-leading consequences of stratifying motives over one another and bring in two larger, emerging concepts: 1) key duality as disjunction between melody and bass and 2) tonal coherence from the tonal profile of motives. In the first case, either the melody or the bass projects its own center or key separate from the other parts, producing a sensation of key duality. In the second, a single motive furnishes the main source of tonal grounding by unfolding a structural harmony that the surface sonorities obscure. While motivic saliency is a consistent trait across Fauré's late repertoire, the two phenomena above increase over time.

This thesis presents a method of analyzing jazz improvisation and jazz style by using a voice-leading model called “Top Lines.” It compares three separate performances of Thelonious Monk’s “’Round Midnight” by Monk, Gerry Mulligan, and Wes Montgomery. The term Top Lines refers to a voice-leading procedure created by moving as little as possible between chords tones (roots, thirds, fifths, sevenths, and upper functions) of a chordal progression. Top Lines are potential voice-leading lines in the uppermost register and follow the “Law of the Shortest Way.” The thesis defines Top Lines, shows how they interconnect, and ultimately how the improvisor navigates through and manipulates them. Jazz harmony and improvisation have been explored by scholars such as Mark Levine (1989, 1995), Steve Larson (2005), Henry Martin (1988, 1996), and Steven Strunk (1996). Although many scholars deal with coherence and structure in the improvisation, their discussions focus on voice leading coherence and structure in improvisations, where this thesis differs is it provides a voice-leading model on a small scale within the improvisation itself. The model presented in this thesis raises the notion of describing jazz improvisation not simply as a motion from one chord tone to another, but instead as motion between voice leading Top Lines. These motions between Top Lines create coherence and motives—called “Particles”— in one’s improvisation. Particles ultimately demonstrate stylistic features in one’s improvisation, motivic connections, and coherence. The thesis concludes by describing how the Top Line model can be applied to jazz performance and jazz pedagogy. The thesis will be of interest to scholars of jazz theory, musicology, pedagogy, and jazz performance.

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Since the release of ‘Kind of Blue’ in 1959 by Miles Davis, various approaches to jazz improvisation have become more modal. Scales and their various modes has become a well-documented topic in music education. Through my own teaching I have noticed that learners do understand the theory and various applications of chord scales on harmonic structures but often fall short in the practical implementation on their instrument during improvisation. Lack of quick visualization of the various scale patterns by learners has proved to be more of a physical than musical issue. This leads to the research question: How do kinetically efficient actions and patterns interact to enable an improvising guitarist to navigate the fretboard most effectively? Pat Martino (1983) introduced a reduction concept where five master areas of activity based around minor patterns across the fretboard were identified. These five minor patterns were moved through various keys with slight fingering variations. Through my studies with John Fourie we explored the Martino reduction concept from a Dorian point of view. By recycling these Dorian patterns and application of a set of formulas, all seven modes of the major scale could be implemented in any key on the fretboard. Martino’s minor concept provided the foundation for this project, as well as further exploration under guidance of Johnny Fourie from 1998-2007. Five skilled participants performed various tasks from memory in the practical execution of master scale patterns and their intervallic formulas. Economy and efficiency were tested through vertical as well as horizontal movement across the fretboard by means of IPA, video recordings of semi-structured interviews and active research. This project finds that the standard tuning system of the guitar bids affordance to the improviser through implementation of a reduction concept with chunking of master scale patterns and their various intervallic applications. Through effective practice, repetition and practical application of these master scale patterns and intervallic formulas, effectivities become available during improvisation. It was found that the affordances of the instrument remain the same for various participants in the research undertaking, but their effectivities are variable and directly influenced by the participants’ individual perceptions and practical competencies. / Art History, Visual Arts and Musicology

Thematic unity in music occurs when elements from a musical idea appear frequently, in significant places and their presence is recognized or experienced on or beneath the surface. In fugal compositions, thematic unity is evident in the opening statement of the subject and it permeates each layer of its texture. Three analytical perspectives are used to investigate the degree to which local thematic material anticipates later structural features in Johan Sebastian Bach's Fugue in G minor WTC II, and Georg Frederic Handel's Fuga II in G Major. The analytical perspectives identify: (1) cohesive relationships between motivic fragments, (2) underlying motives and their relationships to keys and harmonic progressions, and (3) voice leading reductions relative to linear and tonal prolongation. Arnold Schoenberg, Hans Keller, and Rudolph Reti provide valuable insights concerning the organic nature of thematic material. The voice leading reductions of Heinrich Schenker and William Renwick offer procedures that reveal underlying thematic relationships. The cohesive elements of the selected fugues will be explained with reference to immediate and long-range relationships.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.